New On Disc

September 23, 2004

AMERICAN IDIOT

Green Day

Reprise

In Jingletown, USA, St. Jimmy and the Jesus of Suburbia meet in the 7-Eleven parking lot at 2 a.m. They talk and smoke cigarettes, but mostly they wait, hoping their grenade- blast heartbeats will drown out the music embedded in their surroundings -- sounds that urge them to ``Do the propaganda!/ And sing along with the age of paranoia.''

General motifs are clear: suburban alienation, disenchantment with the Bush Administration, and hope for something better. Beyond these, however, ``Idiot'' requires some thought.

Like any concept album, its success hangs on two conditions. First, the music must hold up. More than any Green Day album to date, it does, particularly on the floating ``Give Me Novocain'' and five-part ``Jesus of Suburbia.''

Moreover, the listener must believe the band is motivated by something more than pretentiousness. Singer Billie Joe Armstrong's fleshed-out character studies satisfy this condition -- there's undoubtedly a cohesive storyline in these songs. Finding it, however, is only half the fun. The other half is watching the band behind ``Dookie'' craft a pop-punk ``Quadrophenia'' for its place and time.

-- KENNETH PARTRIDGE

THE CLARENCE GREENWOOD RECORDINGS

Citizen Cope

RCA

Any number of artists in recent years have tried to locate the poetic and political intersection of Dylan, Marley and the hip-hop generation, but former Basehead keyboardist and DJ Clarence Greenwood, also known as Citizen Cope, never makes a fuss about the quest.

Mumbling and strumming familiar, earthy melodies, he bridges genre gaps with ease and modesty, and although there's a slightly stale feel to the loops and shuffling beats prevalent on his sophomore album, Cope fashions moments of real beauty from his dated musical aesthetic. With guitar from Carlos Santana, ``Son's Gonna Rise'' is a stirring song about childbirth and redemption; while the Memphis soul ballad ``Sideways'' makes a gorgeous, haunting exploration of what Van Morrison once called the inarticulate speech of the heart.

The problem with Cope's unostentatious approach is that it often extends to the lyrics. Even the vividly-drawn characters, like the paranoid narrator of ``Pablo Picasso,'' drift past without making their intentions, or Cope's, quite clear. A similar malady afflicts the more politically-charged numbers, like ``Bullet and a Target,'' a laundry list of societal ills lacking a punchline.

Ultimately, ``The Clarence Greenwood Recordings'' is an intensely personal album in search of a stronger personality.

-- DAN LEROY

NOISE FROM THE BASEMENT

Skye Sweetnam

Capitol Records

What is it about Canada that makes girls so angry? Maybe it's the funny names. Following in the footsteps of rockers Alanis Morrissette and Avril Lavigne, 15-year old Skye Sweetnam debuts with ``Noise from the Basement,'' a collection of, like, totally liberated teen pop.

Sweetnam's songs speak to the frustrated adolescent in all of us. She wants attention (``Tangled Up in You''). No, wait, she wants everyone to leave her alone (``Shot to Pieces''). She likes that boy (``It Sucks''). No, wait, she doesn't like him (``I Don't Really Like You''). Throw in Joey Lawrence, and you have a very special episode of ``Blossom.''

It's the album for every mood, as long as you have a short attention span. Ten of the 14 tracks last 3 minutes or less, and the hooks don't stay fresh very long. Even so, the songs bubble over with energy and charisma, and humor -- one thing that separates her from sour Alanis and dour Avril.

Sweetnam claims to have co-written all of the songs on the album (save a saccharine cover of ``Heart of Glass''), so maybe she has a future as a real artist -- once she grows out of the whole teenager phase.

-- JASON HAMMERSLA

BE HERE

Keith Urban

Capitol Records Nashville

Australian Keith Urban solidified his position as one of country music's emerging stars with his multi-platinum sophomore disc, 2002's ``Golden Road,'' which got significant mileage by veering close to pop territory while retaining its homespun foundations. That musical sensibility is back on ``Be Here,'' an ingratiating assortment of well-groomed singles that register quickly with slick surface appeals, and linger due to Urban's strong melodic sense and easygoing charisma.

Urban's lively guitar work remains a staple of his music, augmenting ``Days Go By'' with a bed of electric and acoustic lines. Equally constant in his wide array of sprightly racers are affirmative messages and strong hooks, which swirl together into the formula that drives the chugging ``You're My Better Half'' and the banjo-laced ``God's Been Good to Me.''